Paper Creatures

Contemporary Paper cuts by Marianne Eriksen Scott-Hansen

Exhibition : 3 November - 16 December 2017

With a neo-baroque approach to her material, Marianne braids, knots, cuts and twists her way through vast amounts of paper. The colours are either heavy and sombre or delicate pastels. The material is vibrant and light. The many components combine to form new entities, and the immediate beauty comes with sombre undertones. Always perfectly balanced with a decorative purpose in mind.

Marianne graduated from The Danish Design School, Line of Clothing Design, Institute for One-Off Designs (now Royal Danish Academy of Fine Arts, School of Design). After working with textile and leather for many years, paper proved to offer the optimal medium for her to unfold her universe. The humble and pliable character of paper makes it an ideal ‘experimentarium’. Like a sculptor she creates new forms by combining many small components. Her works appear as a bustling jumble of tiny independent objects. Seen from a distance, they form a balanced, harmonious object; shaped in the most delicate materials with exquisite skill and craftsmanship.

This exhibition has the mask and thus the face as its overarching theme. Like the baroque painter Giuseppe Arcimboldo, who uses individual elements – vegetables, fruit, birds and fish – as allegories for a larger whole, Marianne uses nature-like elements to form new images with a surrealist feel.

To Be Lost in an Object - Susanne Hangaard : Gallery Exhibition 10 May - 17 June

Collect 2017: The International Art Fair for Contemporary Objects

Køppe Contemporary Objects is proud to announce we ware participating in Collect - the last time was in 2009. Now in its 13th edition, Køppe Contemporary Objects were showing in the stunning setting of the Saatchi Gallery in London’s Kings Road from 2 – 6 February 2017.

The background for Køppe Contemporary’s selection of works for Collect is an artistic analysis of the role of the home in a postmodern Nordic context. The exhibition visualizes the traditional functions of the home by means of works whose lack of functionality highlights how the late modern home has become devoid of functions.

Pernille Pontoppidan Pedersen

'Nine Supensions'

Vernisage

Thursday 8th December1700 — 1900

Exhibition

from 9th — 20th Decemberby appointment

9 — 20 December 2016

The works suggest familiar everyday objects: vases, cake stands, bowls and dishes, but in a slightly distorted perspective. All the traces of hand-crafting have been maintained. In glaze. In my works, I pursue a diverse idiom, where familiar functional or form elements from everyday life are transformed into a more abstract sculptural expression. These traces of familiarity fused with abstract form create an indefinable dual sense of uncertainty and familiarity.

In Nine Suspensions, I explore ceramic sculpture. Working in malleable clay, I create shapes that engage in a dialogue with the viewer’s conceptual framework and sense of recognition. My goal is to explore the way a certain form can appear familiar and evoke parallels to another object that seems somehow related. A relationship between two forms that appear unrelated to anyone besides the individual beholder.

Consciously as well as unconsciously, we search our memory and subconscious for references to something that we already know, have experienced or sensed. When we look at a familiar form, we are able to sense what it feels like, how it feels in one’s hand, the tactility and the material.

I find this framework of concepts and references that each of us develops and relies upon via our memory – underlying as well as conscious layers – fascinating and inspiring, and it is exactly what I aim to explore and examine through my pieces in ‘Nine Suspensions’.